JAVS Summer 2011

the bottom of the page: “The original key of this Sarabande is D major, in which it is impracticable for the viola; therefore it has been transposed to G major.” 11

Samuel Lifschey (1889–1961). Lifschey was principal viola with the Philadelphia Orchestra from 1925–1955. Publisher information: G. Schirmer Inc ., Vol. 1564, 1936. The brief Preface explains that the Anna Magdalena Bach manuscript, the Kellner manuscript, and the Bach-Gesellschaft edition were each consulted. Ample bowings and fingerings are included throughout. Again, movements have Italian tempo indications both at the head of and within the movements, e.g.: Prelude to Suite No. 1 is indicated Allegro ma tranquillo. Movements have metronome markings, e.g., Prelude to Suite No. 1 is marked quarter note = 66. There are a considerable number of clear indications throughout as to which notes were used when conflicts occurred between manuscripts. There is no indication of the scordatura tuning in Suite No. 5. Suite No. 6 is in D major and includes an excellent explanation of the five-string “viola pomposa.” There are indications of octave displacements where Lifschey has re-scored some parts including the entirety of the Sarabande. A Lifschey recording of the Suite No. 6 Gavottes are available on Vol. 1 of The Recorded Viola, recorded 1941; GEMM CDS 9148, Pearl. Watson Forbes (1909–1997). Forbes was principal viola with the London Symphony Orchestra and the Royal Air Force Orchestra. He served as Professor of Viola and Chamber Music at the Royal Academy of Music and performed often as a chamber musician, principally with the Aeolian String Quartet. Publisher information: Chester Music , J.W.C. 1401, 1951. The brief Preface explains that Forbes consulted the Bach-Gesellschaft edition as well as the Anna Magdalena Bach manuscript. Bowings and fingerings are included throughout. Movements have Italian tempo indications at the head of the movements and within, e.g., Prelude to Suite No. 1 is marked “Molto moderato.” Movements also have metronome markings, e.g., Prelude to Suite No. 1 is marked quarter note = 69. Movement timings are interesting and helpful. Included are numerous performance directions, e.g., legato stroke, upper half or lower half of bow, and directions on chord performance, etc. Suite No. 5 indicates the scordatura while using normal tuning with an informational note: “The notes of a few chords have had to be redistributed.” 12 Suite No. 6 has been transposed to G major: “This transcription has been freely adapted to keep the viola part within the compass similar to that employed in the previous suites.

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